nears a crisis, the earliest theme (from the first
Allegro) is heard in the basses. In the hushed discourse of Scherzo
theme that follows, the old melody still intrudes. In mockery of one of
its turns comes an enchanting bit of tune, as naive an utterance as any,
much like a children's dancing song. And it returns later with still new
enchantment of rhythm. But the whole is too full of folk-melody to trace
out, yet is, in its very fibre, true to the idea of an epic of the
people.

Presently the whole Scherzo and Trio are rehearsed; but now instead of
the phase of latest melodies is a close where the oldest theme (of
Allegro) is sung in lusty blasts of the horns and wood, with answers of
the Scherzo motive.

In the last movement, _Allegro con fuoco_, appears early a new kind of
march tune that, without special

[Music: _Allegro con fuoco_
(Horns and trumpets with full orchestra)]

trick of rhythm, has the harsh note of lowered leading-note (in the
minor, to be sure) in very true keeping with negro song. The march is
carried on, with flowing answer, to a high pitch of varied splendor and
tonal power. The second theme is utterly opposed in a certain pathetic
rhapsody. Yet it rises, at the close, to a fervent burst in rapid
motion. We

[Music: (Solo clarinets)
(_tremolo_ strings)]

may expect in the Finale an orgy of folk-tune and dance, and we are not
disappointed. There is, too, a quick rise and fall of mood, that is a
mark of the negro as well as of the Hungarian. By a sudden doubling, we
are in the midst of a true "hoe-down," in jolliest jingle, with that
naive iteration, true to life; it comes out clearest when the tune of
the bass (that sounds like a rapid "Three Blind Mice") is

[Music: (Strings, wood and brass)
(See page 205, line 9.)]

put in the treble. A pure idealized negro dance-frolic is here. It is
hard to follow all the pranks; lightly as the latest phrase descends in
extending melody, a rude blast of the march intrudes in discordant
humor. A new jingle of dance comes with a redoubled pace of bits of the
march. As this dies down to dimmest bass, the old song from the Largo
rings high in the wood. Strangest of all, in a fierce shout of the whole
chorus sounds twice this same pathetic strain. Later comes a redoubled
speed of the march in the woodwind, above a slower in low strings. Now
the original theme of all has a noisy say. Presently the sad second
melody has a full verse. Once more the Largo l